The architecture of the “German Renaissance”, the value of which we owe to the extensive research of Lübcke, Dom, Bezold and Hoffmann, then the photographs and publications of Ortwein and Schaeffer, Fritsch and others, cannot be compared with their Italian sister either with greatness, logic or clarity. In the layout and in the building of the building she kept the existing forms. Gothic cross vault with ribs and Gothic through-carving dominated most of the few newly built churches that were now emerging in Germany. The extreme corner towers, when moving from medieval castles to modern palaces, often still denoted the exterior framing of magnificent princely dwellings, equipped with extensive courtyards, whose staircases inside the courtyard towers, not to mention exceptions, were still screw throughout the century. The houses of the townspeople kept their gables outside, and in northern Germany they had a canopy inside, indicating their origin from the Lower Saxon peasant house, while in upper Germany, with richer buildings, they kept a yard through which at least one arched gallery connecting the front part of the house with back. The works of the German Renaissance all these buildings become mainly due to decorations imitating antiques, thanks to pilasters and friezes decorated with symmetrical vegetative curls, vases, cupids and fabulous animals in the spirit of Upper Italian Early Renaissance and thanks to the arbitrarily reworked Greco-Roman capitals, whose bearers are often taken away. at the bottom are baluster or candelabra columns. These new forms of jewelry appear primarily on portals, lanterns, stair towers, gables. In the German Renaissance, however, from the very beginning there is no shortage of complex multi-storey facades with pilasters and semi-columns; unfortunately, from the very beginning he lacked only a sense of pure proportions and organic dismemberment, which manifested itself only in the second half of the century.
Antique art is imitated most strictly and organically, of course, those German architects who themselves visited Italy. Actually, the buildings built in Germany by the Italians do not belong to the German Renaissance, such as the charming Belvedere entertainment palace in Prague (1536) surrounded by a gallery with semicircular arcades, then the palace of Landsgut (1536–1547) in the style of the classic high renaissance, also the palace-shaped portal (1555) on Judenhof in Dresden, built by Giovanni-Maria Nosseni, described by Makovsky, especially his magnificent princely chapel (1585) in the Freiberg Cathedral and the magnificent Piast Palace in Breguet (1547), and hneitalyanskie builders which, however, with the assistance, of course, the German workers, made many concessions to the German taste, we can classify it to a German renaissance.
The true German Renaissance architecture, whose familiarity with Italian forms is based on ornaments, engravings and art manuals, comes from Italian XVI century ornamentation, for the first time thoroughly illuminated by Likhtvark, and recently Deri. Her sources at that time included wood engravings by Peter Flettner (Fleutner, died in 1546), put forward by Gaupt not without a stretch to the forefront of overall development, after Reimers made a summary of his woodcuts and drawings, Domanig - medals, but Konrad Lange - all his works in general. The printed works that had the greatest influence were: a small book on the art of Vogtgerr (1537), “Moorish ornament” by Flettner (1549), illustrations of the same Flettner to the German Vitruvius (1548) by Rivius and, finally, a brilliant talent book on the architecture of Vendel Dietterlin ( 1598), in full sail sailing in a wonderful country baroque style.
The German Renaissance ornament begins with the already-Upper Italian early Renaissance, to which he gave a rougher appearance, then embarks on the path of the “grotesque,” a high Renaissance, giving it a completely lifeless symmetry, and, starting from 1540, it develops with its Dutch sister called the system of curls, which appeared first of all in the frames of the cartouches in the form of massive framing surfaces twisted along the edges, and then quickly passes to the twisted “flags” and bandages, which, doubling as all ma, and acquiring holes, mutually penetrate each other. Starting from 1550, “grotesques” joined these formations on the frames, while new, already real “sea” motifs with endless tangles of ribbons and flower stalks penetrate the curves. Beginning in 1580, with the performance of the Netherlands, “sea” turned into a ribbon-like, embossed “shackle”, which, thanks to the mounted hats, like nails, often does seem to be nailed with nails. Finally, the ends of these patch tapes become thinner and thicker, and thus give rise to what seems to be “rocking divorces”, again resembling a late Gothic burning through cover, so that as the rest of the arts increasingly fall under Italian influence, the ornament takes on an independent northern character, somewhat restless, but often held with good balance.
Starting from the 90s of the 15th century, on portals, on the frames of gravestones and in woodcuts in Germany, there are some Renaissance motifs. In addition to Dürer, on the first Italian journey (1495) of which we insist, Peter Fisher Jr. visited Italy, then, probably, until 1520 also Hans Burgckmair, Peter Flettner and Loy Goering. These painters and sculptors, who saw the beautiful south with their own eyes, were in any case the closest intermediaries between the Italian early Renaissance and German art. In fact, Dürer already in the second woodcut of his Apocalypse (1498) decorated some of the large candlesticks with Renaissance ornaments.
The oldest building of the “German Renaissance” is the Fugger Chapel (1509–1512) in the church of Sts. Anne in Augsburg. The vaults are Gothic, but the marble facing of the walls, to the sculptures of which we will return, flaunts the style of this Venetian early Renaissance. The courtyard of the Fugger House (1515), adorned with faded murals, conveys the impression of this style even more clearly. The real architectural works of the renaissance of Peter Flettner are an elegant, perfectly executed in the spirit of the times triangular fountain on the market square in Mainz (1526), thin stone decorations of the portal and friezes, a fireplace and a floor (1534) of the hall in the house of Hirschfogogel in Nuremberg, as well as a lantern, portal and some particulars in the decoration of the rooms of the house of the Tukherov, located next door, the exterior of which reflects the French transitional style. How slowly the original forms of the Renaissance spread in southern Germany are shown by the wispy mixed style of the tower of the Church of Sts. Kiliana in Heilbronn (1529) and the more noble transitional style of the town hall (1535) in Ensisheim in Alsace, decorated above the Gothic gallery with arcades of the lower floor with simple pilasters in the Renaissance style.
In the full development of the "German early Renaissance" is us mainly in Saxony. The facade richly dissected by rows of pilasters with the pediment of the Georgievsky outbuilding of the Dresden Palace, built after 1530 by Hans Sikentants, was not preserved. Only the rearranged to another place reached us, the clearly dismembered and richly decorated St. George's Gate, the artistic and historical origin of which is established with perfect clarity from a comparison with the Porta della Rana Cathedral in Como. This is followed by the impressive eastern building of the castle in Torgau (1532–1536; Levi’s monograph) erected by Konrad Krebs, whose double windows still have late-gothic curtain arches, while the Renaissance-style decorations unfold all their charms on the railing, lanterns and tower balconies of the main courtyard and especially on the majestic, with giant windows, an extension in front of a spiral staircase, equipped with a gothic vault. Less impressive, but more solid, is the new building of the Dresden Palace, built by Caspar Vogt, the main part of which is again a large courtyard. The middle projection in the form of a tower is decorated in all four floors with open, columnar galleries with arcades, and the corner towers hiding spiral staircases have a rich early Renaissance ornamentation on pilasters. The Berlin Palace, preserved only in drawings, built around 1538 by Caspar Theis, simply and nobly developed the same style.
In the architecture of urban houses in northern Germany in the first half of the century, cloisonne structures continue to be more interesting in artistic terms than stone, being the most constructive among all German construction styles. Their carving on the doorposts, thresholds, protruding ends of the beams and on the railing corresponds to the construction value of these parts, so, for example, a fan-shaped palmette or shell, closing the braces, always appears here at the sole of the jambs or fills the subwindow walls. Hildesheim, whose gable facades are sometimes turned out only by carved and painted wooden parts, and Braunschweig and Halberstadt, whose houses are turned onto the street with their long sides, are the richest buildings of this kind, giving an artistic impression. The butchers' house (1529) is distinguished in Hildesheim, and the Old Scales house (1534) in Braunschweig.
Fig. 59a - Old Scales House (1534).
It was only in the second half of the 16th century that the German Renaissance celebrated its best victories, although in northern Germany it was now under obvious Dutch influence, and in southern Germany again fell under Upper Italian. In any case, much of what seems to be borrowing should be considered an independent parallel development; and in any case, the most magnificent buildings of the German Renaissance of this time, by mastering, developed for themselves independence not only in relation to Italy, but also in relation to the kindred Netherlands.
Church architecture was still almost without movement. The palace chapels of the Protestant princes, and the oldest chapel between them in Torgau (1544), were single-nave churches with empores, with Gothic reticulated vaults. Decorated with renaissance ornaments, the empores of the Late-Gothic Church of Our Lady of Halle (1530), a hall system built by Cardinal Albrecht of Brandenburg, also of Protestant origin (1554). The palace chapel in Augstusburg (1570), as a building covered with a box-shaped vault, equipped with Tuscan semi-columns with empors, Ergard van der Meer, shows how the Dutch Renaissance appeared in upper Saxony. The Catholic Renaissance style of the Counter-Reformation begins the university church in Würzburg, built in 1582–1597. Bishop Julius (Julius style), the interior of which, despite the Gothic windows through, is a two-story church with empores and arcades of classical orders. The First Church of Germany is a pure Renaissance style and together the most powerful church building of the German Renaissance is the simultaneous Jesuit court church of St. George. Michael in Munich, a solid inside the building, covered with a strong vaulted roof. Instead of side aisles, it is covered by side chapels, a high transept in front of the choir dissects it in terms of the lower, base of the empores above the side chapels, it is dissected in height and delicately decorated with statues in the niches between the Corinthian double pilasters in the lower part of the longitudinal body.
At the head of the castles of this time is Heidelberg, destroyed by the French back in 1689 and 1693. and in the form of a ruin, entwined with fresh greenery of the forest, thanks to a combination of buildings from different centuries, produces a unique picturesque and architectural impression. Eshelgeiser with Koch and Seitz proved in detail that the “Hall building” of Elector Frederick II (1544–1546) and the building of Elector Otto-Heinrich (1556–1559), converging at a right angle in the northeast corner of the entire building, belong to the main creations of the German renaissance. The “hall building”, the main hall of which was completely covered with mirrors, produces an architectural impression thanks only to its two-story galleries with arcades facing the courtyard. The Otto-Heinrich building deploys all the pomp of the Renaissance. Hoffmann and Roth brilliantly proved that it was not started under Frederick II, as Haupt and Kossmann believed, but, according to tradition, only under Otto-Heinrich. In contrast to all previous assumptions, Rott made the probable conjecture that Hans Engelhardt, the chief architect of both sovereigns, was the creator of it. It is impossible to deny that Dutch and Italian memories intersect in an extremely rich courtyard facade, but from the free processing, reappraisal and comparison of heterogeneous elements, this facade is still an independent creation of the German Renaissance. The statues in the niches with the shells, along with the dormer windows, richly decorated with pilasters and semi-columns, take part in the dismemberment of the three-storyed front facade, and its well-measured proportions lead everything into an organic connection. Gables are not preserved. A powerful portal with Atlants is crowned with the aforementioned motifs of curls, which are somewhat later, but in a more pronounced form on the portal of the castle in Tübingen.
The motive of the courtyard arcades of the Heidelberg “hall of the building”, being subjected to various modifications, gives the main charm to other princely castles of the same time in southern Germany, Otto-Heinrich Castle in Neuburg on the Danube, the old castle of the Duke Christopher in Stuttgart (1553), the main creation of the architect Aberlin Tretsha, as well as the powerful Plassenburg near Kulmbach, which was started in 1555 by the margrave Georg-Friedrich with the assistance of Kaspar Fisher, whose arcades are completely covered with ornaments in the spirit of the early Renaissance. Albrecht Stables building in Munich (now the Mint) impresses itself with its huge courtyard with arched galleries. In the new Munich residence, which appeared in all its glory only in the XVII century, some parts belong already to the time of Wilhelm V, for example, the courtyard with the grottoes of Frederick Sustris, this versatile Dutchman.
The most independent and beautiful Renaissance building, apparently, was the “pleasure house” of the Duke Ludwig in Stuttgart (after 1575) broken in 1846, a separately built building with a pediment with cool water pools in the lower floor, the main builder of which was Georg Behr. The student was a student of Heinrich Schikgardt (1558–1634), whose independent buildings, quite consistently imitating Italian, belong already to the 17th century.
In northern Germany, the castle structure now unfolded peculiar beauties, especially in Mecklenburg under the rule of the artistic-minded Dukes Johann-Albrecht and Ulrich. The castle of Duke Ulrich in Gustrow (after 1558), a massive dismemberment of which is achieved only through protrusions and depressions, corner towers and strips of friezes, is an example of a modern brick building with artistic plastering. On the contrary, the described Zarre Knight Yard of the Duke Albrecht in Wismar (1555) represents a sample of a brick building plastered with terracotta tiles; his terracotta factory Stacion von Duren in Lübeck found on other buildings, but here they are particularly subtle reinforce the overall impression. Of the small castles of northwestern Germany, far inferior to these magnificent buildings, some, such as the castle in Wolbeck near Münster, are instructive in terms of historical development. Remarkable gables stairs at the houses of these areas. Their steps are crowned with semicircular fans in outlines, which wooden architecture used as its foot. On the Town Hall in Ringeln, however, they serve as upper window platbands. The further development, perfectly outlined by Pauli, then shows how these particular decorations gradually give way to volutes, to which their parts are first driven, until, finally, the curls and the decorative ornament become solid.
Newest work dedicated to the German town halls of the Renaissance Griesebach. Between the upper Rhein town halls of the second half of the 16th century, the town hall in Mühlhausen in Alsace (1552) represents the main example of the high German facade painting, not always stylishly replacing the actual architecture with a prospective false one, and the former town hall in Strasbourg (1585) was shining with the plastic luxury of the Heidelberg Castle. On the Lower Rhine, the beautiful portico of the Town Hall in Cologne, the masterpiece of Wilhelm Wernicke (1569), rises in the form of two floors of "pavilions" with independently supplied Rinf columns. В сердце Германии мощные ратуши в Ротенбурге на Таубере (1572), в Швейнфурте (1570) и в Альтенбурге (1562) производят впечатление именно своим замкнутым общим расположением, вытекающим из житейской потребности, своими живописными формами и башнями. Изящная ратуша в Лемго принадлежит более новому времени (1589), а прежняя ратуша в Лейпциге, о строителе которой Иерониме Лоттере мы знаем из указаний Вустмана, была древнее (1556). Любекская ратуша в 1570 г. была изменена более поздней пристройкой в стиле нидерландского ренессанса. Построенная в 1574–1576 гг. Мартеном Аренсом из Дельфта, богатая окнами ратуша в Эмдене имеет вполне голландский характер, а возведенная в 1585 г. Антоном ван Оббергеном из Мехельна старая ратуша в Данциге, в которой Вредеман де Врис из Лейвардена (1596) выполнил богатое украшение летнего зала совета, — чисто фламандский. Другие северно-немецкие ратуши и торговые ряды также имеют комнаты с необыкновенно богатыми панелями и резьбой. Начиная с половины столетия, к которой относится прекрасная обшивка панелями зала Капитула в Мюнстере, можно проследить развитие от применения настоящих обрамлений до подражания настоящим архитектурным формам. Главными произведениями этого рода являются «Зал Мира» в ратуше в Мюнстере, великолепные панели Ганса Греге в Фреденгагенской комнате (1573–1585) в доме торговцев в Любеке и «Зал Совета» Гердта Суттмейера в Люнебурге (1568) с пышными дверями резчика Альберта из Зёста (1568–1584), о котором сообщает Бенке.
Private dwellings of this period in southern Germany are marked only by slow progress. If the spectacular Topler's house (1590) in Nuremberg still has late Gothic forms, then the knightly house in Heidelberg (1592) expands all the charm of the local castle style. However, the Italian creatures on German soil are the knightly house in Lucerne (1557), the “house of the shop of bugs” in Basel and many times described, decorated with Ponzano grotesque-style rooms of 1570 and 1572-s at the Fugger house in Augsburg. On the contrary, a house with a white eagle in Stein on the Rhine and painted in the 1570s. Tobias Stimmer's knight's house in Schaffhausen characterizes the High German style of facade painting, in which Holbein successfully participated.
In northern Germany, wooden architecture continues to evolve along the paths already described. Stone construction, in some coastal areas using sawn stone for brickwork on the Dutch model, has now given a number of peculiarly magnificent, richly dissected by city pilasters or semi-columns of town houses, of which we will call only a “clothes house” with a high pediment on Osterstrasse in Hamelin ( 1576). Hameln represented a special, small area of original style, noted by Pauli. Finally, in Danzig, whose streets are picturesquely enlivened by “porches”, with high staircases-balconies in front of the entrance door, and especially its long alley gives a number of interesting, although narrow Renaissance-style houses of this time, and the Steffen’s house, probably built some Dutchman is one of the most consistent and luxurious. Dutch style flourished in Danzig.
The overall picture of the German architecture of the XVI century is quite variegated and intricate. However, comfortable accommodations, with a lively feeling adapted to different goals and reflecting many needs dear to the hearts of the German people and even their decorative forms, are still full of freshness and originality, as long as old art gives them direction rather than filling them. We will see that the German Renaissance, as such, goes beyond the threshold of the 17th century, but then quickly falls into a strictly classical or close to baroque style.
Что бы оставить комментарий войдите
Комментарии (0)